The Jefferson Airplane were the first blip on the radar screen tracking the San Francisco buzz of the mid 60s. With an inauspicious debut, the Airplane garnered little appraisal outside the city by the bay, but it was enough to jumpstart a new movement. Either way, the band made some crucial alterations to further their appeal. First, they replaced pseudo drummer Skip Spence — who went on to spin his own yarn of psychedelia with Moby Grape — with L.A. session ace Spencer Dryden. More dramatically, singer Signe Anderson became pregnant and left to raise her newborn. Without missing a beat, the Airplane set their sights on an unknown singer from an up-and-coming San Francisco band called the Great Society. The alluring Grace Slick not only brought her captivating voice and striking good looks to the table — she also came in with two key songs that would play a major role in the success of Jefferson Airplane’s sophomore effort, Surrealistic Pillow.
Recorded in Los Angeles, Surrealistic Pillow is a defining moment in rock. The two Top 10 singles, Grace Slick’s “White Rabbit” and “Somebody To Love” penned by Slick’s former band mate, brother-in-law and admirer Darby, became anthems for the new generation of hippies hunkering down in the Haight. “White Rabbit” mixes the imagery of Lewis Carroll with drug-induced hallucinations of the day — predating a similar juxtaposition presented four months later in John Lennon’s “Lucy In The Sky With Diamonds.” To consolidate the recording sessions, the Grateful Dead’s Jerry Garcia was invited to participate. Though it’s debatable as to whether Garcia actually played on the record (the band says he did, producer Rick Jarrard says he didn’t), his influence is evident in both the album’s title and the upbeat arrangement of “Somebody To Love.” For this, he was credited Musical and Spiritual Advisor.
To be sure, Surrealistic Pillow was more than just a showcase for Slick’s undeniable talents. Marty Balin was blossoming as a singer and songwriter in his own right, demonstrating an uncanny flair for handling both introspective ballads (“Comin’ Back To Me” and “Today”) and psychedelic rockers (“3/5 Of A Mile In 10 Seconds” and “Plastic Fantastic Lover”). Before they veered off their own with Hot Tuna, bassist Jack Casady and guitarist Jorma Kaukonen were the glue that held the whole ensemble together. Kaukonen’s “Embryonic Journey,” an acoustic instrumental, is proof positive the guitarist was already miles ahead of the pack. Paul Kantner’s role as co-songwriter (check out “D.C.B.A.-25”) and the band’s facilitating avatar held promise of bigger and better things to come. A classic in every sense of the word, Surrealistic Pillow has been renovated in several different formats over the years. Over 50 years later, it remains a triumphant feather in the cap of the Summer of Love.
~ Shawn Perry
